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Cover StoryArchitectsof aestheticsKunal KampaniInspired by their Indian roots and transformed by the modernworld they see around them, this trio of designers hasdefined the aesthetics of fashion. NIRATI AGARWAL talks toRaghavendra Rathore, Suhani Pittie and Kavita Bhartia abouttheir design philosophy in context to their work and criticalacclaim. From cultural history and Marwari sensibilities tofashion and its relation to art, theirs is a perspective informedby a labour of love.Kunal KampaniWhen it comes to fashion, the past,the present and the future aren’tas easily defined as in the journalsof history. Parallel to human life,its lines are blurry, fluid, and often, ephemeral.Integration, interpretation and inspiration arewoven together and as closely enmeshed aspolitics, culture and tradition. Fashion thenbecomes a mirror to society and its evolution. Ananalysis of the creations of Raghavendra Rathore,Suhani Pittie and Kavita Bhartia is a study oftheir individuality and uniqueness, yes, but alsoof societal culture in general, and the Marwariinfluences that inform their heritage in particular.Deep in the heart of south-western Rajasthan,the race that has defined business in India oncelived and thrived. The long walk from home tofetch water, the heat and the dryness along withfamilial values dictated that Marwari womenwear 80-kali lehengas and long blouses with theirheads covered in bright dupattas. The lehengaswere panelled for easy walking and the skirtsended above the ankle to keep from getting in theway. In the last 60 years, with economic progressand easier availability of water, Marwari womentook to wearing seedha pallu saris in kota andsanganeri. As time marched on, the head coveringbecame less prevalent and the saris were wornwith the pallu on the shoulder. Fashion not onlycaters to the practical demands of an everchangingsociety, but also to beauty and art thatthe human heart longs for. The three designers wefeature, engage in and enjoy this dichotomy.Celebrating IndiaA great writer once said that no matter how faryou go, there is no escaping where you’ve been.Though they come from distinctly differentbackgrounds, all the three designers celebratetheir Indian roots in their design, albeit indifferent ways. For Rathore, growing up in the rajgharana of Jodhpur, sitting at his grandmother’sknee seeing umpteen bangle sellers and sarimerchants display their wares was a lesson inunderstanding femininity and fabric. On onehand, he saw the purdah culture in his royalhome, on the other he saw the rural and urbanupheaval of modern India. This dichotomy, thisunity of the old world and the new is immenselyapparent in each of Rathore’s creations and whyshouldn’t it be? “What was elegant then, recreatedin contemporary settings remains elegant today,”he says. His rich heritage gives him a unique54 Marwar india July-August 2012July-August 2012 Marwar india 55

understanding of culture, and it is onlyright that by his designs he not onlyseeks to understand, but also explain hisunique point of view.Set apart from her older sisters witha rather large age gap, Suhani Pittiealso has a unique cultural heritage.This young designer grew up in thebusy, loud and artistic city of Kolkata,finding herself equally at home playingcricket in the galli and dancing to oldBollywood songs! Her whimsy, herlove for all things and her exuberantjoy find no better place to manifestthan in her designs. Apart from aslightly unusual way of looking at theworld, her subsequent marriage toStouvant of the Pittie household, a200-year-old family that still lives intheir beautifully frescoed courtyardhouse in Hyderabad’s Old City, alsogave her an appreciation for the past. Beit Maharajas or Nizams, this designerfinds herself fascinated by yesterdayand tomorrow, designing strictly for thepresent! “I am besotted by our country,by its diversity, its languages, its history,its colours and by the fact that thelandscape differs every 100 miles! Wehave such a firm cultural past andnow such a radically different culturalpresent—its juxtaposition in our livestoday is amazing!”When it comes to materialisationof thoughts and philosophy in design,take another look at Kavita Bhartia’swork. She grew up in Delhi and wasmarried into a Marwari home (movinginitially to Kolkata and later to Delhi)that followed traditional dictates, yetbelieved in elegance and dignity. Herroots and ambience have informed hersensibility and we see gota and zardozion Indian handlooms and textiles geta Western silhouette! “It’s importantfor a country to retain its culture. Thefashion industry has done its bit to keepour crafts alive from the beautifullycrafted blocks to the unique way we usecolours, handmade screens, embroideryand fabrics,” she says. In November1989, she launched the retail storeOgaan, with her own brand of clothingas well as those sourced from India’sbest designers. At that time, people, shesays, wore voluminous kurtas, wanting56 Marwar india July-August 2012An image from KavitaBhartia’s signaturecollection of printedsatin-lycra dreses“It’s important for a country toretain its culture. The fashion industryhas done its bit to keep our crafts alive fromthe beautifully crafted blocks to the uniqueway we use colours, handmade screens,embroidery and fabrics.”–Kavita Bhartia

Suhani Pittie’s quirky yet exquisite jewellery“We have such a fi rm cultural past andnow such a radically different culturalpresent—its juxtaposition in our livestoday is amazing!”–Suhani Pittieto hide and drape their bodies. Slowly,tastes evolved and thus arrived fittedclothes with unusual cuts. Bhartia hasnot been a spectator of this change, buta participant, imagining the future andtaking her cues from the past.Internationally laudedIt is not only their inherent love forand celebration of their roots, but alsothe fact that they pour their heart andsoul into their designs, that win themglobal prestige. When it comes to theinternational market, India doesn’tjust sell—not without honest, heartfeltdesign. “Good designers who haveestablished their presence overseas haveone strong USP: their work is true towho they are,” says Pittie. Her jewelleryhas certainly created a fan-followingamong the most elite audiencesoverseas. In 2008, after being the first jewellery designer from India to be invitedto showcase her collection at the Miami Fashion Week, Pittie was commissionedto create a collection inspired by Indian flora by The Museum of Arts and Design,New York. One of her designs, a gold brooch in the shape of a peepal leaf, is soexquisite, so delicate and so truly her handiwork, that reading the name tag becomesredundant. Late last year, Pittie was also invited by the British Council to display herpieces (a mix of her gyspy-Nizami inspired ‘Grunge Begum’ collection with the morequirky pieces of ‘Free Religion’) to members of the British royal family and MaharajaGaj Singh, against a backdrop of Rajasthani music. She also received the ‘YoungWomen Achiever’s Award from FICCI FLO and was chosen as one of the ‘Top 10Most Inventive and Ingenious Jewellery Designers’ by the World Gold Council. ForPittie, these aren’t merely compliments or honours. “Getting this recognition is soencouraging! It definitely instills confidence,” she says.With global appreciation comes more pressure and more expectations. Bhartiahandles it by experimenting and innovating. She has participated in fashion weeksin countries like Singapore, has dressed the 1998 Miss World contestants and hastaken her label to Australia, Singapore, Hong Kong, Italy, Spain, Greece, France andUS. To keep her work interesting, she highlights her ability to adapt and evolve. “Itis the handmade appeal and the fact that we experiment with printing, textures anddifferent kinds of hand embroidery, constantly evolving with the current trends thatensure our appeal abroad,” she says.58 Marwar india July-August 2012

It is when an exclusive and diversecoterie of clients from New Yorkto Paris demands your designs thata brand is truly special—just likeRathore’s. From famous personalitiesin Manhattan to Europe’s mostdiscerning dressers, Rathore has trulyestablished himself across borders. Forhim, however, it is also important tomake sure his international displaysconnect with the right audience. ForRathore, fashion, with its strong link toculture and progress, means more thanpretty clothes. “We just got back fromMonaco where we raised funds for afoundation chaired by Prince Albert. Itis very important to connect with likemindedindividuals and institutions,”he says.The evolution of the brandBefore a designer can become aninstitution, it is the creation andevolution of their brand that decidesfuture prospects. For Kavita Bhartiait took vision and market analysisto realise that India was ready for amulti-brand fashion store. “During“Marwaris are traditionallydriven by the look, feel andtexture of the fabric.I have a high regardfor Marwaris whoseculture is in syncwith the past andthe present.”–Raghavendra RathoreRaghavendra Rathore looking debonairin his atelierthe late 80s, NIFT had opened andIndian designers who understoodquality and design were emerging.People were hungry for good designand were tired of going to their localdarzi.” In this scenario, Bhartia openedthe Ogaan chain of stores, well-knownas installation spaces or galleries asmuch as retail outlets, with her ownlabel of clothing called Omana. As herstores and label gained repute Bhartiarenamed her label, Kavita Bhartia,to avoid confusion especially duringthe time her garments were beingshowcased at Selfridges, London. Withthe support of her industrialist husband,Hari Bhartia, whom she commends forhis encouragement and enthusiasmfor her work, and her in-laws, Bhartia’sjourney may seem easy. However, yourperceptions will change when you hearthat she designed her own dresses asVineet Modi60 Marwar india July-August 2012

Kavita Bhartia at her studio in Noidaa 12-year-old and took it upon herselfto complete her graduation in textiledesign at the Polytechnic in SouthDelhi after her marriage. Like everynew entrepreneur, she too experiencedthe growth pangs that come withsetting up a business in the fashionindustry, known for its propensity tochange. Bhartia’s forte perhaps lies inher readiness to evolve and keep herthinking hat glued on tight. She notonly publishes Elle magazine throughOgaan Publications, but also heads theOgaan Cancer Foundation to support acause that is close to her heart.Starting young is perhaps a commonfactor for these globally recogniseddesigners. Pittie, too, started workingin her father’s office, sorting files atthe age of 14. After finishing studies ingemology overseas, she started teachingat a gemology school in Kolkata at18. At 20, she established her owncompany, Focus Diamontaire, travellingacross India, conducting classes onthe technical aspects of gemology forfirms and individuals. Taking her lovefor pretty stones to a higher plane ofcreationism, she established Zorya, ajewellery design company, with herhusband Stouvant, when she was 24,which handles her namesake brand. Inless than a decade, accolades from bothworld-class institutions and purveyorsof style followed.Apart from his rather unusualupbringing, finding himself equally athome in the palace greeting dignitariesto having soghra (millet-flour bread)and gud in rural fields under hisfather’s domain, Rathore has had arigorous and varied education. Afteran early education at Mayo, he studiedhuman anthropology and roboticsat Hampshire College and art andphilosophy from Marlboro College afterstudying design at Parsons. Selected forwork experience by Donna Karan andshuttling between Paris and New Yorkfor over 10 years gave Rathore as muchperspective in fashion as has his 1,200-year-old family history. He foundedhis brand, Rathore Jodhpur, in early1994. His atelier in Delhi, which soldIndian versions of jackets, did so wellthat his clientele expanded across theworld! After researching achkans andbandhgalas for eight long years, Rathorepatented six original designs. Hiswork has not only found recognitionabroad but has also been awarded bythe Government of Rajasthan for itscultural impact. His brand has evolvedand grown in consequent years andtoday offers design solutions to a hostof activities ranging from architectureto clothing, all inspired by a love andrespect for history.Community connect“There is an interesting story behind theachkans,” explains Rathore. The Rajputsfound it impractical to ride a horsewearing the long Mughal sherwani,which was in vogue then. They decidedto cut it above the knee and call it anachkan. “Make that shorter and onegets the bandhgala jacket that is nowworn on formal occasions across theboard.” This unity between the past andthe present is the catalyst that drivesRathore to create and is exactly wherehe finds his Marwari connect. “Marwarisare traditionally driven by the look, feeland texture of the fabric,” he says. “Ihave a high regard for Marwaris whoseculture is in sync with the past and thepresent.”Finding no trouble manoeuvringthis overlap of time, Pittie wearsKunal Kampani62 Marwar india July-August 2012

Marwari lehengas with shirts all thetime, undaunted by whether theyare fashionable or not. “I think weare fearless; the community takesgreat pride in hard work, and it iscommendable to see how much wehave excelled.” She however, isn’t theonly one inspired by Marwari culture.Rajasthan has been a great source ofinspiration for Bhartia too. “Travellingto Rajasthan and seeing all the womenmix and match the brightest coloursinspired my first collection. Since thenI have worked on another moderncollection, using only shades of blackand gota,” she says.Catalysts of designEvery culture in the world, from theancient Greeks to the modern Indian,has its own entreaty to the gods ofinspiration. In the transient world offashion where ‘new’ and ‘different’are not only expected, but alsodemanded, these designers find theirdesign catalysts in myriad sources.Inspired by the bustle of kumhaars,bangle sellers, Banjara and Jatradancers, and merchants who gatherin and disperse from the busy tradecentre of Hyderabad’s Old City, rightoutside her window, Pittie finds joyin the contradiction of vintage andcomtemporary, past and post-modern.“If you see my first collection, it wasa story of the Nizam. There werecopper coins and beryls with a wholeregal twang. The next was an urbankaleidoscope, which reflected modernperspectives in relation to the veryearthy Rajasthani culture.”Doing tribal prints, digital designs,clean drapes, ragged fringes, razorcuts, big borders, metallic threadingand tiered dresses, Bhartia too has ahumongous range. “My inspiration isworking with the finest craftspeopleand a love for experimenting,” she says.On the other hand, Rathore’s Jodhpurbandhgalas are meant to stand thetest of time. His ornate Indian wearfor women is regal and classic and hiscalling and passion is his royal-ruralheritage. His passion for astronomy,electronics, old cars, robots, literatureand sculpture also informs his design.On the horizonAfter a successful showcasing of hermost recent collection at the LakméFashion Week, Pittie is busy churningout more to meet orders. Havingstarted her b2b sourcing portal, a firstof its kind in the industry, enablingmerchandisers everywhere to order hercollections online, she is now looking tolaunch a similar portal for retail clients.Having seen considerable success in herline of cutlery and home accessories,Pittie also plans to expand her productportfolio. As for her next collection,the monsoon has her working withclear stones, tiny pearls and greymesh. “Someday I also hope to starta world-class gemology institute. It isa fascinating subject!” Moving ahead,slowly but steadily, Bhartia too hasplans for the expansion of Ogaan andher label, which has already venturedall over the globe. Following the naturalprogression of designing to training,Rathore is currently wrapping up hisplans of founding a unique designinstitution in Rajasthan. “It will be asort of gurukul where the past andthe present will be in sync to formsomething new. Here, students willobserve certain skills that will enablethem to create designs for all walksof life.”As these designers continue ontheir unique paths, they put cultureinto context. In the decades tocome, irrespective of whether theirwork is seen in museums or sportedby posterity, it will always offeraesthetics along with epistomology.Kunal Kampani64 Marwar india July-August 2012